CANNES, FRANCE – At the Dentsu Beach during the Cannes Lions Festival of Creativity, adobo Magazine caught up with two of the most respected names in Japanese and global advertising — Yasuharu Sasaki, Global Chief Creative Officer of dentsu, and Yoshihiro Yagi, Executive Creative Director at Dentsu Inc., Tokyo.
In a relaxed yet deeply reflective conversation, Yasuharu and Yoshihiro unpacked the evolving landscape of Cannes, the role of craft in luxury branding, and why Asia still faces uphill battles for creative visibility on the global stage.
“We need a good translator between creativity and business.” Yasuharu, who assumed the top global creative role at dentsu in late 2023, reflected on the Festival’s growth — and its growing pains.
“The recent expansion of Cannes — some say it was too fast. It reached into a lot of areas, but now it’s affecting the entire society and industry. That’s a good thing,” said Yasuharu. “But I still miss the human emotion and connection — the craft of creativity. Cannes seems more focused on business lately. I’m looking for a good balance between human creativity and business.”
At the festival, Cannes beach is filled to the brim with platform-sponsored huts, the renowned sun-drenched beach and blue sea barely visible. “Where is the creative soul of Cannes?” one asks, it appears to be transactional.
He expressed concern that the industry may be losing the delicate interplay between innovation and meaning.
“We need a good translator or connector — someone who can explain how human creativity impacts business, and how business needs creativity. It’s becoming too separated.”
A new language for luxury
For Yoshihiro, the most internationally awarded art-based creative in Japan, creativity in luxury today demands more than visuals — it requires consultancy.
“I started as an art director, and now I’m an executive creative director. But I still draw on my art direction skills — especially when uncovering and revitalizing the hidden heritage of brands, and creating experiences that connect seamlessly across platforms.” Yoshihiro explained.
He believes that it’s important to open up what used to be a symbol of authority and hierarchy, in which he saw in the philosophy behind Nikka Whisky’s “No Labels.”
“It was born from that very intention. What’s needed there, I believe, are love, craftsmanship, creativity, and originality. Something that sparks the imagination, and stirs a sense of elevation and joy. It’s not just about making advertisements — it’s about creating art together with the brand. I’m especially interested in making art within the context of luxury,” Yoshihiro said of the campaign.
“I don’t like presentations,” he said plainly. “Because presentations invite a yes or no. Instead, I prefer making the criteria together with the client. That way, they share their true challenges, and we continue the conversation. That’s how we arrive at creative solutions.”
Yasuharu agreed, remarking on Yoshihiro’s session at Cannes, “His process is very much like a business consultant. He doesn’t just give visual ideas. He listens, speaks with the CEO, and proposes something meaningful through art.”
On Asia’s underrepresentation at Cannes
Despite the progress in categories and recognition, Yasuharu voiced a pointed concern: the underrepresentation of Asia at Cannes — on the jury, the speaker panels, and in awarded work.
“I believe Cannes understands the difficulty in Asia and wants to get more Asian judges. But for many who aren’t fluent in English, they need translators. There’s still a lot lost in translation.”
“We’re not always good at explaining our cultural differences. In Asia, we have small brands. It’s hard to explain what they are and what they stand for — unlike global giants like Nike or Adidas.”
He noted that improving visibility may begin closer to home, “Greater participation in ADFEST can lead to stronger entries in Cannes. It’s one of the ways to build Asia’s presence.”
Reclaiming craft, reclaiming voice
As the sun set over the Croisette, both leaders — one rooted in copy and digital storytelling, the other in design and art direction — shared a common belief: that in a world where AI, business metrics, and rapid scaling dominate the headlines, the human touch still matters.
Whether it’s finding a new vocabulary for creative leadership or pushing for a stronger Asian presence on the global stage, Yasuharu and Yoshihiro are building bridges — between East and West, art and commerce, ideas and meaning.
Yasuharu Sasaki
Yasuharu began his career at Dentsu in 1995 as a copywriter and became a pioneer in interactive advertising, founding Dentsu Lab Tokyo in 2014. His award-winning work spans clients like Uniqlo, Honda, and Coca-Cola. In 2023, he was named dentsu’s Global Chief Creative Officer, leading its global Creative Practice. He has presided over juries at Cannes Lions, APAC Effies, and beyond.
Yoshihiro Yagi
With a foundation in art direction since 2001, Yagi is one of Asia’s most decorated creatives. He has crafted campaigns for East Japan Railway, Honda, Panasonic, and more, spanning media from ambient installations to book design. A multi-awarded Cannes Lions winner, Yoshihiro has also served on international juries including Cannes Lions, D&AD, Clio, and Spikes Asia. He is a member of the Japan Graphic Designers Association.
